HUBERT, ROGER

(1903-1964)

Cinematographer. Roger Hubert began his career during the silent-film era. His first film experience was as the cameraman and cinematographer forJean Epsteinon his legendary film,L'Auberge rouge(1923). During the 1930s and 1940s, no doubt because of his talent and his early formation with a technical master, Hubert was invited to work with some of the greatest directors in France, particularly the directors associated withLe Réalisme poétiqueor poetic realism.

Hubert worked withMarc AllégretonMam'zelle Nitouche(1931),La Petite chocolatière(1932),Fanny(1932), andL'Hôtel du libre échange(1934), withMarcel CarnéonJenny(1936),Les Visiteurs du soir(1942),Les Enfants du paradis(1945), andLa Fleur de l'âge(1947), withJulien DuvivieronPension Mimosas(1935), andL'Homme du jour(1937), and withJacques FeyderonLa Piste du nord(1939).

Hubert was also in demand with other, mostly artistically inclined directors.He was the preferred cinematographer of the directorAbel Gance, and worked with Gance onLa Fin du monde(1931),Mater Dolorosa(1932),Napoléon Bonaparte(1934),La Dame aux camélias(1934),Le Roman d'un jeune homme pauvre(1935),Lucrèce Borgia(1935),Le Voleur de femmes(1936), andJ'Accuse(1938). He also worked withJean DelannoyonL'Éternel retour(1943), withMarcel L'HerbieronL'Affaire du collier de la reine(1946), and withGeorges LacombeonMartin Roumagnac(1946).

In the 1950s and 1960s, as French filmmaking changed directions, Hubert found himself working on different kinds of films for different kinds of directors. He worked withHenri Verneuilon crime films and Gilles Grangier on comedies, but he also found occasion to work with some familiar directors. He worked with Duvivier again onLa Fête à Henriette(1952) andL'Homme à l'imperméable(1957) and with Carné onThérèse Raquin(1953). He also worked with Jean Dréville on his filmsLa Reine Margot(1954) andLa Fayette(1961).